Ran Chen - A Private Life

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From Publishers Weekly
"Sexuality has never been a problem with me. My problem is different. I am a fragment in a fragmented age." Despite this claim, the protagonist of Ran's unusual coming-of-age novel is defined by her precocious beauty and her struggle to define her sexual identity. Ran, one of China's most acclaimed contemporary women writers, tells how lovely Ni Niuniu is seduced before she enters puberty by an older woman, the sly, wise Widow Ho, then falls into an unwanted affair with her male teacher, Ti. In college, she meets the love of her life, a fellow student named Yin Nan, but their brief, passionate affair ends abruptly when Yin Nan becomes involved in the student protests in Tiananmen Square. Traumatized by the loss of Yin Nan and the deaths of her mother and Widow Ho, Niuniu retreats into her own mind, becoming Miss Nothing ("I no longer exist… I have disappeared…"). Niuniu's flaws, foibles and idiosyncrasies represent fertile ground for Chen's wide-ranging psychological character study. Even the more conventional scenes are narrated with lyrical intensity, and hallucinatory dream sequences and passages describing Niuniu's alienation range from the revelatory to the overwrought. The result is an uneven but intriguing novel that captures the heightened sensibility of a woman who flees the bustling contemporary world for the sensual pleasures of inner space.
From Booklist
The turbulent decades spanning the Chinese Cultural Revolution and the deadly demonstrations at Tiananmen Square provide the backdrop for this sensuous coming-of-age tale by Chinese essayist and short-story writer Chen. As a child, sensitive and gawky Ni Niuniu never quite fit in. Teased by her classmates and neglected by her cold, distant father, she engaged in quiet forms of rebellion (she once stole her father's woolen trousers and cut them off at the knees). While her father scarcely acknowledged her, other adults paid Ni Niuniu too much mind: her middle-school teacher, Ti, and an eccentric widower who lived next door each took sexual advantage of the impressionable young girl. Haunted by the past and despondent over the recent death of her mother and departure of her first love, Ni Niuniu retreats from the realities of politically charged Beijing, writing and drawing and endlessly soaking in her tub. Chen's first work to be translated into English provides an eloquent examination of the quest for calm in a chaotic world.
***
"Chen Ran's strikingly introspective, subjective, and individualized writing sets her work distinctively apart for the traditional and mainstream realism of the majority of contemporary Chinese writers… In his translation, Howard-Gibbon adeptly conveys the exquisiteness, richness, and slight eccentricity of Chen's prose." – China Daily
"The turbulent decades spanning the Chinese Cultural Revolution and the deadly demonstrations at Tiananmen Square provide the backdrop for this sensuous, coming-of-age tale by Chinese essayist and short-story writer Chen… Chen's first work to be translated into English provides an eloquent examination of the quest for calm in a chaotic world." – Booklist
"An intriguing exploration of the contemporary consciousness of an alienated, urban Chinese woman for whom current history matters less than the reliable comforts of love, nature, and solitude." – Kirkus Reviews
"Niuniu's flaws, foibles, and idiosyncrasies represent fertile ground for Chen's wide-ranging psychological character study… [an] intriguing novel that captures the heightened sensibility of a woman who flees the bustling contemporary world for the sensual pleasures of inner space." – Publishers Weekly
"In the novel A Private Life, Ran Chen immerses us in the troubled life of Ni Niuniu… Chen weaves together these evaluations with Niuniu's manic writings in order to create an ultra postmodern tale of a young woman's psychosocial evolution… an important portrait of a young woman trying to survive in a complicated world." – Bust Magazine
"A Private Life is not an overtly political book; rather, it has the timeless quality of most dreams. Still, [narrator] Ni Niuniu's refusal to connect with the world outside her door becomes a kind of political statement." – Elizabeth Gold, Washington Post
"An atmospheric story of sexual awakening and ennui that enlarges our understanding of modern China." – Vancouver Sun
"Niuniu's hatred of the few powerful males in her life and her sexual confusion and manipulations are clearly depicted." – Sofia A. Tangalos, Library Journal
"This polished and readable translation of the inaugural novel of Chen Ran stands as an example of the quasi-autobiographical Sino-Japanese shishosetsu" – Choice
"A riveting tale… a lyrical meditation on memory, sexuality, femininity, and the often arbitrary distinctions between madness and sanity." – Translation Review
"A Private Life shows Chen Ran at her best: weaving together the female bildungsroman and social and political satire, she effortlessly flits from outbursts of rage to ecstasy to rarefied emotions. Her philosophical musings on the difficulty of achieving individual freedom are as critical of the collective pursuit of wealth and sensorial pleasures in China after socialism as of the authoritarianism and ideological conformity during the heyday of the Cultural Revolution. The poignant, tragic-comic tale is ultimately about bondage and transcendence." – Tze-Lan D. Sang, author of The Emerging Lesbian: Female Same-Sex Desire in Modern China
"The novel daringly depicts a woman's emotional journey towards the maturation of her sexuality. It is a provocative reflection of the new sensibility of a young generation of Chinese women in the post-Deng era. Chen Ran's sensuous style easily breathes through the translator's English rendition of her language." – Lingchei Letty Chen, Washington University, St. Louis
"One of the most acclaimed women writers in contemporary China, Chen Ran in this novel explores the complex emotional territory of the female body, sexuality, homoeroticism, and fantasy. The author’s personal voice triumphs in the novel as a most conscious presence, dissolving the public and collective model of socialist literature. Daringly written and excellently translated, A Private Life not only entertains, but also leaves the reader pondering Chen’s disturbing and deeply personal message." – Lingzhen Wang, Brown University

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This discovery made me feel very strange.

Just at this time Mrs. Ge, the neighbor in front of us, developed breast cancer. Some people said that she had discovered a hard lump when she was washing herself. Others said that her husband had first found it on a wet night when the mugginess and the pervasive sound of the rain wouldn't let him sleep. With nothing else to do, he started gently caressing his wife and eventually felt the irregularity. After that, she was taken to the hospital, given a number of tests, and eventually diagnosed as having cancer.

I heard my mother say that she had already undergone massive surgery, with the doctor cutting out both her breasts as if they were nothing more than persimmons on a tree, as well as most of the associated lymph glands in her armpits. And that in the oppressive summer heat, the intense pain and feeling of suffocation experienced by this woman, with her breasts removed and her bosom, flat as a cutting board, bound in bloody gauze, stemmed from mental as much as from physical pressures.

Mother also said that even though Ge was going through this suffering, she would die fairly soon anyway, because the cancer cells had already spread, though she herself did not know this.

Lying on my little bed in my room that night, I was deeply frightened by the indistinct sounds of Mrs. Ge's moaning coming from the front of the courtyard. The rustling of the trembling leaves, which sounded like it was right beside me, seemed to be responding to her cries. Filled with dread, I put my hand on my chest and started exploring.

And sure enough, I found a hard little lump just under the nipple of one of my newly developing breasts. Moving to the other one, I found a similar little lump. With this, I was overwhelmed with fear.

I tossed and turned all night, unable to sleep, imagining that, like the lady next door, I was about to die.

According to Mother, dying was a total destruction of life. There is no other kind of leaving that carries us as far away; there is no other kind of renunciation that is as final; there is no other kind of forsaking of relatives and friends that is as thoroughgoing. Death is the irreversible termination of life.

Lying on my bed, I felt like I had been forced to don long, brocade burial robes, which try as I might I could not take off. I stared through the window at a night sky that was as clear as a limpid blue pool, while my heart sent blasts of tropical heat and arctic cold racing through my veins. I didn't want to renounce anything; I didn't want to forsake my mother, nor Widow Ho, whom I liked so much. Why would I want to die? Of course, being able to get away from Mr. Ti and my father was the one thing that made death attractive to me. But still, I didn't want to die.

I didn't dare go into my parents' room to wake them, so I lay there alone, a victim of my mind's wild imaginings.

… Hearing about death was like listening to some ear-piercing musical instrument, the sound as shrill as glass or as hard as metal. With one click of the latch, the door would be shut, and I would be forsaken by the world around me.

At that moment, my corpse dropped abruptly out of the darkness onto the bed beside me and lay next to me as cold as ice. I rolled away from her and looked at her huge eye sockets in the obscuring darkness, but those despairing eyes refused to look at me. Her lips moved ceaselessly, but she refused to talk to me. She was sneezing repeatedly, but the sound was very strange. Her sneezes sounded like those of our former dog, Sophia Loren.

After a while she got so restless that she got up from the bed and started pacing back and forth in the room, like a shadow moving along a wall. Her intangible image flickered waveringly with no apparent left or right or front or back, seeming to move in a space of infinite dimensions. Whatever she wanted to see, she could see.

After strolling about the room alone for some time, my corpse came up to me. Suddenly she smiled and asked how I was. She said that she didn't like graves, that she liked to wander through cedar forests. For some reason, I wanted to reach out and touch her bosom to see if she was still breathing, but when I did so I discovered that she did not have breasts. I was filled with terror, but at the same time couldn't bring myself to ignore or abandon her…

Only when the sky began to lighten did I finally drop off into a fitful sleep.

In the morning, Mother was astonished when she came in to get me up and saw how pale and distraught I was. She couldn't understand how such a change could take place in just one night.

Putting her hand on my forehead, she asked, "Niuniu, are you sick?"

I said, "Mama, is the lady next door going to die?"

This perplexed Mother even more. She had no idea what had happened.

I said, "Mama, I'm going to die too. I've got cancer too." Then I started to cry, my tears gushing down like a midsummer deluge.

Mother started examining my breasts, and indeed found what seemed to be a hard little lump. I pulled back, saying, "It hurts."

In disbelief, Mother said, "Who ever heard of a child having breast cancer?" But even as she said it she started to look upset.

That morning I didn't go to school as usual, because Mother took me to the hospital.

At that time there were no physiology classes in school, so we were not like today's adolescents who learn about the sexual development and maturity of, and differences between, males and females in their regular sex education classes. Although I was almost the same height as my mother, my awareness and knowledge of sexuality were abysmal. My mother refused to accept that I was growing up and continued to treat me as a child.

In the obstetrics ward at the hospital, most of the women coming and going were expectant mothers with stomachs swollen like drums. One woman about to give birth was stretched out face upward on a high, hard bed. Her bare stomach looked like a huge white drum that had been pumped so full of gas that it was ready to burst. A middle-aged male doctor was pressing here and there all over her stomach as he asked her questions. I was waiting off to one side, terribly afraid that her stomach would split from the pressure of his hand.

When it was my turn, Mother took great pains to explain my condition to him.

He had a very thin face, wide-set eyes, and a very offhand manner. His thin face made his large mouth look huge, which only served to make his disapproval more obvious.

I was too bashful to undo my blouse in front of a strange man, but since he asked me to, I did so. Very casually, but with meticulous thoroughness, he felt my breasts; then he laughed at my mother as if mocking her and said, "There's nothing wrong with her. She's entering puberty."

My mother said, "But she says she has some pain."

A bit impatiently, the doctor said, "You're a woman, surely you've gone through puberty yourself. This is quite normal."

After that, perhaps realizing how he had behaved, he asked in a friendly tone, "How old is she?"

Mother told him.

He replied, "She's noticeably thin for a girl her age. You should make sure she eats more nutritiously."

The examination for my "illness" over, both Mother and I heaved a sigh of relief as we left the antiseptic-laden air of the hospital.

In the little shop at the hospital entrance, in an instant response to the doctor's admonition, Mother bought me a bottle of yogurt and a ham sausage to make sure I ate more nutritiously, as if I would start getting fat the moment I ate them.

I was eating all the way home.

As I walked, images of Widow Ho's pale breasts, like a pair of plump peaches, hovered vaguely in my mind.

7 Yi Qiu…

Her father let her be born in a "zoo." With her amazing adaptability she was able to flourish within this "cage" and learned through experience the pleasures of the hunter and the hunted… She stands at the paling with one hand supported on her buttocks and the other one clamped over her mouth. Her voice is submerged within her own body. She has no history.

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